As participants at the Grand Challenges Annual Meeting, hosted by the Bill & Melinda Gates Foundation (BMGF) in Dakar, rounds up Day 1, the country’s biggest music star and acclaimed Africa’s king of pop music, Youssou N’Dour took the stage in one hour of “exhilarating” performance on a night music and science meet. SEUN AKIOYE reports
It was an anti-climax. The ovation that was supposed to herald Senegal’s greatest artist on stage had died down before the singer walked briskly to the microphone. The Master of Ceremony who introduced Youssou N’Dour had been lavish in his praise of the singer, promising that the performance will be hot.
“It is the King of Africa’s pop music,” he cried into the microphone, sending the audience- a mix of different nationalities-into a scream. “If you want to dance, dance, if you want to sing, sing because it will be hot tonight,” he said.
Youssou came in wearing a white dress with a black and white stipe coat. He looked much younger, fitter and stronger than his 64 years of age. The king of Africa’s pop music did not waste any time asking for homage, he grabbed the microphone and cried “Yee, Africa,” to which the audience gave an encouraging scream.
Though an international star, Youssou humility shone through his clean, clear counter tenor voice. He sang with the shyness of a boy with a booming voice who somehow realized he is undeserving of such a mighty gift. He looked at the audience with some tenderness as he launched his first song, ‘Mama Africa’ a fitting track to open the performance. His band consisted of an all-male crew with two back-up singers who looked like they had no business on the stage but whose harmonies greatly complemented Youssou’s counter tenor. Many of them are older men, closer to his own age. Men who have been with him for so long they have become friends.
“Sallam Allekum, welcome home,” he shouted at the end of the song.
Africa’s King of Pop
Youssou had come to the Marquise in Dakar with his band, Etoile de Dakar to support the Grand Challenges Annual Meeting, a gathering of scientist and innovators trying to solve some of the world’s most critical but often neglected problems. Hosted by the Bill & Melinda Gates Foundation (BMGF), over 1000 enthusiastic innovators had descended on the city to showcase new discovering in health and science.
Co-chair of the foundation, Bill Gates earlier that day had called for a strong regulatory system that can save people’s lives and asked the World Health Organisation (WHO) to make the needed emergency declarations that would help fast-track the solutions the world needs.
N’dour has been Senegal’s biggest export. He has been credited for putting the country’s Mbalax music genre on the world map. His space in the sun began in 1994 with the release of his solo album The Guide and 7 Seconds would go on to become one of the most iconic songs of all times. At home, he established the biggest recording label, opened media houses and other businesses.
His 2004 Album, Egypt would seal his legend when he won the Grammy Awards for the best contemporary music. He also ventured into the movies, playing Olauido Equiano in the movie Amazing Grace and between 2012-13 served as Senegal’s Culture Minister.
A Master of the Stage
That was the man who stood on the stage, at the Marquise singing for scientists and innovators and it didn’t take long to understand why this man is legendary. Youssou commanded the stage like it was his, similar to how the late Fela Anikulapo Kuti would command his Afro Beat band.
“Clap” he told the cheering audience as he launched into his second song ‘Dem’, then by the time he sang his fourth song Aloona, he had worked the audience into a frenzy. Almost.
The Africans had joined the energetic performance, many viewed his as their own for he sang of hope and dream for the African. Youssou motioned for the talking drum to perform while helping to put a microphone on it. The drummer communicated to the audience, linking their spirits with his drum in a series of staccato performances which ultimately united to make a resounding beat that qualifies as music on its own.
For half an hour, Youssou had performed alone without his customary female dancers. Now, they arrived wearing a yellow boubou flowing gown. Their presence brought the stage into a frenzy with their choreographed and energetic moves, first to the beat and then to the words.
The Mbalax brand of music to is very different to Nigeria’s Afro-Beat or pop and Youssou could be likened to a Fela Kuti or King Sunny Ade, Nigerian contemporaries who remain largely unknown to the millions of youth who have rebranded the music they pioneered into a modern Afro pop, appealing to millions outside the shores of Africa. But unlike his Nigerian counterparts, Youssou has managed to remain relevant and continued to dominate the Senegal musical landscape.
Youssou’s Mbalax employed vigorous dance steps and choreographed moves designed to keep the audience on their feet, moving. The audience kept faith with him and soon in the sweltering heat, one could no longer recognize the Africans, from the American and European. Everyone kept moving, to the beat and out of beat.
Youssou sang Birima, a chant about the king of Cajor who’s reign was known for its festivity than governance. But as lively as this song should be, Youssou chose to render a rather melancholy version of it.
“Ah Birima,” he cried in an agonising tone. “A day spent in your presence was the picture of hospitality.”
But the audience, no matter how entranced they are about the songs and performances. They yearned for that one song. “It is simple; do you want to sing with me?” he asked the audience. A man ran towards the stage and shouted a song at him. Youssou smiled.
“I know you are waiting for that one song; it is the window of my music. I am going to sing 7 Seconds for you.”
The shout went through the roof signaling the popularity and acceptance of the song. A lady came on stage to duet the song with him. It was the highlight of the performance, Youssou singing, the audience singing, some holding hands and moving slowly.
The next two songs, was about Africa and the need to dream again. Now, the smile which had enchanted the audience for an hour was gone, Youssou was in his spiritual elements as he chanted on about the continent. In the words, in every sound, one felt the passion and pain, mixed together giving birth to a chant so powerful and arresting.
“Thank you, go out there and make a change in the next 20 years,” he said to the grateful audience. Jorge Osorio from Colombia- a country in South America known for its diversity- said he felt the spirit of the songs as Youssou performed.
“We have African roots,” he said and one assumed a look of the incredulous. “A lot of music in Colombia has African influence because there are many African people in Colombia. I am so happy to be here,” he said.
Valerie Bemo from Cameroon described it as “exhilarating” saying she has been exposed to his music for long and describing him as a “speaker for Africa.”
As the meeting continues, Youssou would have a larger opportunity to discuss issues germane to Africa. Alongside Bill Gates, he would discuss how to harness the power of science against malaria. And who knows, there might soon be a vaccine, a drug, an innovation that will put an end to the malaria scourge on the continent, preventing nearly 700,000 deaths. And when that happens, the scientists at the Grand Challenges and Youssou would have played a role. In different capacities.
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